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11
General Board / Re: I'm New Here ... (introduce yourself)
« Last post by Tina Grey on August 07, 2015, 02:17 AM »
Hey there!

I'm Valentina (15) and I joined yesterday, and I like it here, tho I still don't know anyone.
I'm new at drums and my kit includes only my sticks (if they're even a part of a kit XD) but it was love at first sight. Drumming is just amazing and I think you guys are probs the first people to whom I don't have to say 'you have no idea what does it feel when you're sitting there'. :)
Anyway, I live in a small poor country in Europe and I speak English, Spanish, Serbian, and I'm learning French.
Anyway, I'm a quick learner and I hope I will get to my current goal in 6 months. I also play violin and piano tho.
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General Board / Where to practice?
« Last post by Tina Grey on August 06, 2015, 04:25 PM »
I currently started playing but I definitely can't get my own kit so I can't practice every day. How often should I practice and what should I do when I can't go to the studio? Practice on a pillow or what?
13
Gear / Equipment / Instruments / Bottom Heads
« Last post by Chris Whitten on August 06, 2015, 02:47 AM »
Hi All.
When did drummers start to use resonant (specific) heads?
I just can't quite remember when I first started as a pro, but I think we used to install a plain (batter) Ambassador on the bottom of our toms.
I'm thinking about exploring that sound, and wondered if Ambassador's top and bottom on toms would sound OK.
Heads are expensive, so I didn't want to go for it unless I understand what the outcome might sound like.
thanks.
14
Shameless Self-Promotion / Published in Modern Drummer
« Last post by Jeff Johnson on August 04, 2015, 11:54 PM »
I am extremely exited to share my news!  I have a series of three articles in Modern Drummer magazine starting this month (Sept. issue - they are ahead by a month). Subscribers should already have the issue. It ships to the news stands today, although it may take a day or so to hit the shelves.  This month's article deals with single stroke roll development.

I have been reading Modern Drummer since 1986 and am honored to have my writing published!

http://www.moderndrummer.com/site/2015/07/september-2015-issue-of-modern-drummer-featuring-gil-sharone/

For updates on future issues, be sure to check my website or facebook page.

Thanks,

Jeff
15
Terri Lyne Carrington's hotly anticipated new CD, the second installment of 'The Mosaic Project' but with a stronger R&B influence features an all-star group of female musicians.

http://www.drummercafe.com/music-industry/drum-news/grammy-winning-drummer-composer-producer-terri-lyne-carrington-releases-mosaic-project-love-and-soul.html


! No longer available Small | Large
16
General Board / New Video Lessons & University of Chicago
« Last post by Sean Rickman on August 02, 2015, 04:49 PM »
New things are happening at thericklessons.com
The new series focuses on all meters in duple and triple feel. As we are all familiar with 4/4 and cut time, we zero in on approaching mostly odd meter. It's one thing to count however that limits your understanding. Once you lose count you are off the grid. So it is as important, if not more, to learn and practice the feel of all odd meter from as many angles as possible. Constant repetition is the key. I am often asked how I think of all odd meter and I must stress that there are NO SHORTCUTS. I develop drum chants and loop them over and over until I can hear other ways to approach whatever the meter is that I am trying to perform smoothly. Again, this is achieved through repeating and looping over and over until you feel the phrases that help you understand the meter.
Currently I am working with alto saxophonist Steve Coleman at University of Chicago/Reva & David Logan Center For The Performing Arts. We are in residency July 8 - August 6. This residency consists of workshops, open rehearsals, and nightly performances. It's a full on musical environment in which the public whether professional, student, beginner or just observer can participate.
When the few drummers that have been there come up and play, I notice how they all have what I call bad habits. While we are demonstrating each drum chant, phrase by phrase, clapping and singing the rhythms (because it is best to be able to sing everything without an instrument so you really internalize the music), the drummers somehow miss the fact that everything comes from simplifying each phrase and repeating it over and over. The drummers want to immediately rock the rides and play some habitual patterns before they even know the music in its simple form. In other words, none of them create a simple pocket.
There is a simple pocket for everything. The most difficult rhythmic music from Steve Coleman to Meshuggah to Tosin Abasi can be approached from a simple pocket. This is what requires the commitment from you as a drummer. This is something that will literally help you out of the Drummers Well that many fall in.
I am bold enough to make this statement because I only see drummers interested in chops and technique while overlooking the main importance of providing a good feeling pocket for whatever style of music they are supposed to be supporting. Why else would Steve Coleman, a rhythmic genius, hire me for the last 20 years? His music forces me to find pockets all the time. Many times on the spot as we create music on the bandstand 100% of the time. Most groups rehearse certain things and do the same thing every night. Throw a slight rhythmic curve at musicians like that and they are in a place of rhythmic bewilderment instantly and everything falls apart on the scene. This is a tragedy as American culture is pretty weak with triple feel as a whole.
Now we have thericklessons.com as a place for the drummer and all musicians to understand the Universe of Rhythm without bias.
Performances from University of Chicago are also posted so please take a little time and visit all the content available to help every drummer understand every approach instantly.

-Sean Rickman
17
Gear / Equipment / Instruments / Re: Tension rod locks...suggestions?
« Last post by Matthew Warwick on July 16, 2015, 07:09 PM »
I guess I'll have to try it out when I replace the heads next. The snare came with a Remo Ambassador SS, which is good, but I replaced the Evans Genera Dry with an Ambassador X-14. It works fine, but it's a bit thick and has a tad more ring than I need for my Free Floater Snare. I have to use 2 moongels near the edge to control it and I can't tune it down past a certain point or else it starts to resonate like a tom. I think I'll go back to the trusty 'ol Remo CS Reverse Dot Coated, maybe the X model of that (with an Aquarian CC SS on bottom). I have to wait a bit though since I've got some other stuff I need to focus on paying for (like student loan paybacks, lol!).

I'll PM you with my experience of it once I'm able to replace the heads.
18
Gear / Equipment / Instruments / Re: Tension rod locks...suggestions?
« Last post by Bill Bachman on July 16, 2015, 11:34 AM »
Hi Matthew! It's actually very simple--no extra threads or work involved.

Buy 12-24 thread nuts (in stainless steel so they'll stay looking nice), they'll cost about $.11 each. Unscrew a tension rod and then screw the nut on and reassemble such that the nut is on the rod in between the rim and the "nut" in the lug casing. (The "nut" in the lug casing is the metal piece the rod threads into--or the top of your free floating drum's post with the threads.) Once the drum is tuned exactly where you want it tighten the 12-24 nut tight using a 7/16" wrench against the nut in the lug casing (you may want to hold the rod up top with a key while doing this). At this point one nut is tightened up against the other on the tension rod which prevents it from turning/loosening. And that's it! With a broken in head the sound will stay exactly where you left it.

I keep a little wrench in my stick bag just in case, though loosening up the lug with a key will usually unlock the nut.

I've punched in a week after recording something having played all week and the drum sounded exactly the same. I've tried other methods & "lug lock" types of products and none have really done the job. The nut job (hey, I like that!) is the perfect simple solution.

Nut job!
19
Gear / Equipment / Instruments / Re: Tension rod locks...suggestions?
« Last post by Bart Elliott on July 15, 2015, 08:42 PM »
I've sent a message to Bill Bachman, who is a member of this forum, to see if he might chime in and further explain his suggestion, which you mentioned.

As far as other products ... there are a lot of different products on the market, many of which work very well ... so pick one and try it; find out what works best for you. I have successfully used LugLocks for decades, but they can be a pain to mess with if you put them on every lug, so I just use them on the problem tension rods.
20
Gear / Equipment / Instruments / Tension rod locks...suggestions?
« Last post by Matthew Warwick on July 15, 2015, 06:05 PM »
I was lucky enough last fall to find a Pearl 14"x6.5" Maple Free Floater, so I brought it along with me to each of the three weeks I've played at Christian camps so far this summer. I love how it looks and sounds, and I have literally gotten nothing but positive feedback on both of those aspects of it. Something I've noticed that is apparently an issue for MANY others is that when doing rimshots, the nearest lug to where the stick hits likes to detune a bit every few songs.

There seem to be A LOT of products out there designed to prevent this. I even ran across a post by Bill Bachmann on the drummer world forum about his own method. I'm just not sure what would work best. Who here has used these products and which are the best in your opinion?

To be honest, Bill's idea sounds awesome, but I need a slightly better explanation of how it works than I found on that other forum. It almost seems like it would just be adding another set of threads for the rod to screw into. How exactly would this particular method keep threads from unscrewing?
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